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Table 3.
(Continued).
Expertise
Creative Thinking Skills
Motivation
Organizational
support for
creativity/
innovation
●
The company have put one per-
son responsible to organize AM
activities (resp 2 & 3)
●
Need for a new internal design
system (resp 3)
●
Use AM as a way to produce
prototypes for a closer colla-
boration with the customer
and for testing (resp 3 & 4)
●
Customer
interests
which
highlights e.g. the need to
lower production cost (resp 2,
3 & 6)
●
Designers have tried to buy
AM machines for in-house
research, and many are inter-
ested in this (resp 3 & 6)
●
High interest of AM in other
sites of the company, colla-
borations are ongoing (resp 3,
5, 6 & 8)
●
Not all instances in the organi-
zation are interested in AM
(resp 6)
226
A. LINDWALL AND Å. WIKBERG NILSSON
suggested that a dynamic team with various skills such as industrial design, mechanical engineering,
AM processes, ergonomics and eco-design can cover the need for AM knowledge within a design
project (Markou et al.,
2017
). Experts in this view tend to build on each other’s expertise areas
through creative synergies, and therefore increase the possibility to succeed in realizing the creative
potentials of AM (ibid.). In that way, a designer does not necessarily need to have in-depth
knowledge of all DfAM perspectives, but rather a general knowledge base of the possibilities and
limitations of AM, in combination with their own design expertise.
4.2. Creative thinking skills in relation to additive manufacturing
Creative thinking is directed by how people approach problems in a flexible and imaginable manner
(Amabile,
1998
); AM is often argued to open up creative opportunities that historically have not
been possible before (Krugelis,
2018
). It is suggested that AM can support designers to express
themselves creatively and hence find innovative solutions in their designs (Krugelis,
2018
; Wai,
2001
). Nevertheless, it has also been proposed that researchers and designers should be cautious
when discussing creative potentials of AM, since it does not always correlate with high-quality
design (Abdelall et al.,
2018b
). To reach such a level of product quality and to create designs that
were unthinkable in the past, it is proposed that designers should take inspiration from elsewhere
(Campbell et al.,
2012
). For designers to fully utilize their creative thinking skills in relation to AM,
it is in this view suggested that they need support in opening up their minds to imagine the
unimaginable. It has also been proposed that current DfAM methods are not sufficient to generate
creative designs, since most of them focus on adapting existing designs to AM possibilities and
limitations (Segonds,
2018
). Rias et al. (
2017
) advocate a creative design approach in the early
phases of DfAM, where designers are guided through five steps. This approach guides designers
through features discovery, idea exploration, idea evaluation, concept generation and concept
evaluation. However, Segonds (
2018
) suggests that to fully exploit the creative potentials of
designers using AM, the early phases of DfAM need to be conducted in a collaborative way. One
of the major limitations in design for AM is the designers’ own creative thinking skills (Campbell
et al.,
2012
); designers need to possess high creative ability to fully take advantage of the design
freedom of AM (Fuwen et al.,
2018
). This puts the responsibility on designers working with AM,
and imposes high demands on them, while they are being introduced to this new manufacturing
technology.
Many DfAM methods seem to mainly focus on optimizing product performances rather than
managing creativity for designers, which can result in designers having a hard time adopting all of
the possibilities and limitations that need to be considered in design (Maidin et al.,
2012
). One
answer to this is a design feature database that is intended to assist designers in the creative
utilization of AM, and which in this view has showed great potential for novice designers. To
support designers to fully exploit creativity in DfAM, Sass and Oxman (
2006
) suggest using design
information models. Such printed models include details for designers to assess design features and
bring opportunities for assessing the design from the perspectives of details, internal spaces and
form (ibid.). While addressing DfAM and handling the high pressure of being creative, there is also
a risk of influencing designs in a negative way through, for example, design fixation (Abdelall et al.,
2018b
). It has been shown that novice designers in particular can create design fixation, when first
designing for AM and then redesigning for traditional manufacturing methods (ibid.). Another
study, however, did show that manufacturability software in the concept design phase could assist
designers to avoid such design fixation (Abdelall et al.,
2018a
). In addition to this, the concept of
a feature graph has been designed to assist both novice and experienced designers in creating
manufacturable designs (Ranjan et al.,
2017
). Similarly, a study tested designers in creating ideas
before and after using design principles for AM as a support tool (Perez et al.,
2019
): the study
showed that such principles improved both the quality and novelty of ideas. Design fixation and
having the support to break free from it, hence has to be addressed when discussing creative
INTERNATIONAL JOURNAL OF DESIGN CREATIVITY AND INNOVATION
227
thinking skills. It is important to foster the ability to solve problems in a flexible and imaginable
manner, so that designers understand how to create novel ideas using AM.
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